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"Story in a game is like a story in a porn movie. It's expected to be there, but it’s not that important."
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Some games have epic, sweeping plots that could easily have been made into an action Miniseries instead of a game. Others just seem to have a plot because people feel a little silly doing things for no reason, even if the real reason they're playing is because it's fun.

An Excuse Plot is, in the simplest terms, a plot that is clearly there merely as a justification for the gameplay, or other form of flashy, show-offy-ness, to happen. In short, the story serves the needs of the gameplay, nothing more. It makes no pretense of intrinsic value, but simply provides some banter so you understand why the purple and non-purple units are shooting at each other.

A potential disadvantage of including a half-assed plot (as opposed to no plot at all) is that it can make the game seem unfinished, poorly thought-out, or childish. However, many developers either do not think about these risks or consider the structure and context an Excuse Plot provides to be worth it.

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An Excuse Plot is not necessarily a poorly written, minimalistic, or stupid storyline, only one that has been written to obviously showcase something else. These are typically featured in games for children such as Super Mario Bros. (though there are exceptions in that series, such as the RPG spinoffs), as a complex storyline would not be something that children would understand. Beware of the Anthropic Principle.

If you want to know how to write your own excuse plot, we've got you covered.

A Super Trope to:

A Sister Trope to No Plot? No Problem! (not even bothering with plot at all).

Compare:

Contrast Play the Game, Skip the Story (the plot is deep, but the players see it as an excuse).


Examples:

    open/close all folders 

    Anime & Manga 

    Board Games 
  • The Cheapass Games board game Devil Bunny Needs A Ham has a story, which, in all seriousness, goes as follows: "You and your friends are living pleasant and full lives in Happyville. You are highly trained and well-paid sous-chefs, who have decided to climb to the top of a tall building, as fast as you can. Devil Bunny needs a ham. And he's pretty sure that knocking you off the building will help him get one. Perhaps he is right. Perhaps he is not."
  • The Excuse Plot for Fight City is about as short as you're going to get. "It's a city, and they fight."
  • Steam Tunnel couldn't even stay interested enough to finish its excuse: "In the year 2185, in the steam-driven titanium mine deep under the surface of Io... oh, who are we kidding. Steam Tunnel is a great game with no particular basis in reality."
  • Clue's plot is essentially - "Mister Boddy (or Dr Black) is dead. Find out whodunnit." There is no explanation of who Mister Boddy (or even Dr Black) is, why would anyone want to kill him, or who the guests are and why they're at the mansion. Various other ports DO list motives, but they're all contradictory (and none of them tell us who he is).
  • Candyland has a backstory about the King being kidnapped by Lord Licorice and only two children from our world being able to find him, with gingerbread men (the playing pieces) acting as guides. Even as a child, did any of this matter when you were actually playing the game? No.

    Comic Books 
  • Civil War, according to Word of God from Mark Millar. He just really wanted to write a story about people who were typically on the same side beating the tar out of each other, and the Super Registration Act was just a convenient backdrop he came up with to allow this to happen. Any and all political subtext was completely unintentional.
    • The sequel, Civil War II, had an even more transparent excuse plot. Organized so that Marvel could crowd comic store shelves with new books that said "Civil War" on the cover just as the MCU version of the original hit theaters, the event used unbelievably flimsy justifications to turn hero against hero yet again. The arbitrariness of the entire conflict was one major reason (albeit not the only one) that fans reviled it.
  • Red Ears: In this pornographic comic book series every plot is just an excuse to showcase sex scenes.
  • Similarly, every story in Wally Wood's Sally Forth was an excuse to feature sexy naked women to entertain the US servicemen reading them.
  • Mortadelo y Filemón: The comics usually have extremely thin plots that just function to place the characters in random settings or situations, and then let slapstick ensue. Usually Mortadelo and Filemón's investigations do not advance one iota over the course of one story until the very ending, and often another agent will solve the case, or it turns out there was no case to solve at all.
  • The French gag series Les Astromômes begins with Quentin getting his friend Rodrigue's sister Lise to notice him, by claiming that he's interested in astronomy like she is. The antics that ensue from this initial premise are essentially a framing device used to teach the readers about various astronomy facts.
  • A rather unfortunate use of Rape by Proxy was used as an excuse for the New 52 Red Robin and Wonder Girl to start a relationship when the New 52 Teen Titans author revealed that evidently Tim, Cassie and Kiran enjoyed being raped by Trigon when he was possessing Tim. Note that prior to Flashpoint Tim turned down sex with his various girlfriends on multiple occasions and was canonically a virgin due to his complete non desire for casual or emotionally compromised sex, wanting to be in a very serious and committed relationship before even considering it.

    Fan Works 
  • The author of Origin Story has admitted that he wrote this story primarily because he “wanted to give Tony Stark a punch in the mouth” after reading Marvel's Civil War story.
  • This trope spawned a meme in the Touhou fandom when when a doujin manga brought to attention the fact that the plot of nearly any and all fanworks could be summed up as variations of four Fandom Specific Justifications:
    • Magic: Magic in Touhou is not particularily well defined, so it can be used to justify anything that needs to be justified.
    • Eirin's shady new drug: Eirin is able to make unusual medicines of dubious pharmaceutical benefit and with nearly any bizarre effect imaginable. Inaba of the Moon and Inaba of the Earth, generally considered canon, uses this explanation.
    • Yukari is fooling around again: Yukari is extremely powerful, extremely lazy, and extremely capricious; the plots just write themselves.
    • It's a Moriya Shrine conspiracy: After their introduction in Mountain of Faith, the next three "main" games in the series (Subterranean Animism, Unidentified Fantastic Object, and Ten Desires) were either directly or indirectly caused by the Moriya trio's attempts to gather more faith from the population of Gensoukyou. Suffice to say, fanon took it and ran with it.
    • Templates like that are forbidden: In the doujin manga where the above list appeared in, Marisa says this in response to the above possible explanations behind the doujin's own plot. In more comedic stories, this has occasionally been used as an actual excuse for the plot.
  • According to the author of Fantasy of Utter Ridiculousness, he wrote the story with the sole intent of having Megas fight against Suika Ibuki. In a twist on the above justifications, Megas's placement in Gensokyo was the fault of the Watatsuki sisters; Yukari's involvement was accidental at best.
  • All three stories in The Rival Prefects Trilogy have plots that are arguably just excuses for the characters to get naked and/or engage in sexual activity. Also, the second and third installments were written in part because the author enjoys stories where characters are turned into statues... and aren't turned back.
  • The entirety of Skyhold Academy Yearbook was basically created to give its authors the opportunity to do ridiculous things with Dragon Age characters that could not logically happen in the game's actual setting, such as riding motorcycles and watching Disney movies.

    Film — Animated 
  • Surprisingly, despite his acclaim as a master storyteller and his legendary reputation for having anal-retentive attention to detail in his films, Walt Disney firmly believed in using the Excuse Plot in both his short cartoons and feature films, from as early as his Oswald the Lucky Rabbit cartoons up to the end of his life with The Jungle Book. To him, gags based on character motivation and context and entertainment were what really mattered. Two of his top animators, Frank Thomas and Ollie Johnston, verify this early in their book "Too Funny For Words: Disney's Greatest Sight Gags";
    "At that time, however, even the distributors were questioning whether gags were enough to sustain a whole film and they started asking for more story. Walt, the greatest of storytellers, reacted in a surprising way. 'By the time you have a story really started,' he said, 'it is time to iris out (end the picture), and you have failed to make the audience laugh.' Obviously, in Walt's mind, the first priority in any film was the laughter, and too much story quickly became tedious. He never forgot that point throughout his whole life, constantly shying away from projects that had more continuity than entertainment."
  • Disney's The Jungle Book is acclaimed as a legitimate animated feature classic, even though its plot is a wafer thin, In Name Only adaptation of Rudyard Kipling's story. Walt Disney specifically told the story artists to not read or follow the book, and even chewed them out when they had concerns over the simplistic story, saying the characters and entertainment were more important. Animator and story artist Floyd Norman, who worked on the film, summed it up on his blog:
    "With Pixar's string of successful movies it became popular among animation buffs to quote the familiar mantra, story, story, story. But, I remember it was no less than Walt Disney himself who chewed us out back during the development of 'The Jungle Book.' Because we thought we had legitimate concerns about the films' simple plot line. Well, we caught the wrath of the Old Maestro head on. 'You guys worry too much about the story,' Walt shouted. 'Just give me some good stuff.' And, what was that good stuff Walt Disney was talking about, you ask? Fun, humor, entertainment. In a word, Walt was speaking of gags. 'The Jungle Book' didn't need a more involved story line because we already had great characters to work with. Let the humor come out of the situation, the characters, and the story will take care of itself."

    Film — Live-Action 
  • Georges Méliès, being a magician interested in illusions, was really more interested creating a visual spectacle. The "plot" of films such as his famous A Trip to the Moon mainly served to provide a context for his then-revolutionary special effects.
  • The Warner Bros. Gold Diggers movies, such as Gold Diggers of 1933, had wafer thin plots that were always just setups for the fantastic and elaborate musical numbers and gorgeous dancers that make up the bulk of the films. The back of the DVD case of Gold Diggers of 1937 even hangs a lampshade on this, trying earnestly to summarize the plot at first, only to give up halfway through and say "Well, who watches any Diggers for its plot?"
  • Commando. Not unexpected being that it's part of the Arnold Schwarzenegger oeuvre, but a particularly notable example — the movie doesn't even pretend it's going to have anything to do with the whole "kill the Prime Minister / President / whatever of Val Verde to get your daughter back" stuff. This has the rather amusing result that pretty much every scene with Arius before the climax basically involves him sitting around waiting for Matrix to show up and kill him even if he doesn't realize it.
  • Into the Blue has a plot (if you can call it that) that's basically an excuse to look at Jessica Alba/Paul Walker/Ashley Scott/Scott Caan (delete according to taste) wearing as little as humanly possible.
  • Eurotrip involves the protagonist sending a drunken email and being unable to apologize because the recipient blocks his email address. Conveniently forgetting about the dozens of other ways to get in touch with someone, he sets off to Europe to apologize in person. Hilarity Ensues. A large portion of the film consists of sketches that would work just as well on their own and out of context, so the overarching plot being rather thin is not a real problem.
  • Ju-Rei has no beginning, middle, or end; it's just a progression of loosely-linked suspense sequences based around the same completely unexplained ghostly curse.
  • Mercenaries has four Boxed Crook women being offered pardons if they can rescue the president's daughter from a man-hating warlord. That's really all you need to know.
  • Pacific Rim is little more than an excuse to watch giant robots fighting giant monsters, and makes precisely zero apologies for it.
    Guillermo del Toro: It is my duty to commit to film the finest fucking monsters ever committed to screen and it is my duty to create the greatest fucking robots ever committed to screen.
    • Though judging by Del Toro's statements as for what he'd wish to achieve with in the future of the franchise about not wanting later entries to be "the exact same but bigger", it looks like the eventual sequel (being called by the working title Maelstrom) would be a subversion of this trope with Pacific Rim being the "establishing piece" for the setting and basic backstory of the Pacific Rim-verse with Maelstrom and potential later entries fleshing it out.
    • Though its also worth noting that even then, it does also contain plenty of subtle themes from Del Toro's prior films (Hellboy and The Devil's Backbone) as can be noted here.
  • What rudimentary plot the first half of Gone in 60 Seconds (1974) has just serves as an excuse for the second half, the epic 42-minute car chase that was the very reason why the film was made in the first place.
  • Pixels are pretty much a tribute to 80's video games and as such doesn't have much going for it when it comes to the plot.
    • It's long been theorized that the only reason Adam Sandler still makes movies is so that he and his friends can hang out in nice locales and have the studios pay for it. He's even admitted that he chooses what films he wants to make based on where he wants to go on vacation.
  • There's no particular reason for Billy and Abby to pretend that they're brother and sister in Days of Heaven—they could just as well say that they are married. No particular reason, that is, except for the plot, in which a good-hearted farmer falls in love with Abby and takes them both in to his home under the impression that Billy is Abby's brother.
  • John Wick has a plot that essentially amounts to "Retired assassin's wife gets him a dog and dies, members of the mafia kill it, he goes on a Roaring Rampage of Revenge." The film does take it surprisingly seriously for something so ridiculous, including him going on a rant about how the dog was something to share his grief with. It works better than it should, but ultimately it's still just an excuse for Keanu Reeves to go and murder everyone.
    • However, if you consider that the dog was a gift from John's Lost Lenore and thus his only living memory of her and his last hope of having a normal life, but the son of a mafia boss and his goons just killed it for pitiful reasons, thus incurring the wrath of John (who had nothing to lose at that point), then it's a deconstruction and/or a subversion of an excuse plot.
  • Monty Python and the Holy Grail is effectively a series of skits. There's a plot stringing them together, but it's not particularly important.
  • In-Universe, the Jumanji video game (a Show Within a Show) in Jumanji: Welcome to the Jungle provides a standard example — the Big Bad has captured the MacGuffin! — as the game is meant to replicate those of the 80's and 90's. The movie itself as has a fuller plot.
  • In most Ray Harryhausen films, the plot only exists to put the fabulous stop motion monster scenes in some sort of order

    Literature 
  • The Curious Incident of the Dog in the Night-time: The plot of the novel revolves around Christopher trying to find out who killed the dog Wellington. However, the only plot developments come in the first and last few chapters; most of the book consists of The Catcher in the Rye-esque ramblings and detailed descriptions of mundane, unrelated events.
  • Moby-Dick is nominally about Ahab's quest to hunt the titular whale. However, most of the book focuses less on the actual plot and more on detailed explorations of the history, science, and philosophy relating to whaling, much of which is also used as metaphorical commentary on human society.

    Live-Action TV 
  • In earlier seasons of The Red Green Show, there was generally an over-reaching plot that they tried to work into every segment of the show in some manner or another. In latter seasons, this practice was dropped, with the main plot of the episode only appearing in a few segments and otherwise being kept out of the recurring sketches like "North of 40" or "Handyman Corner." One of the most notable instances was the "No Duct Tape" episode, in which Red was still seen using duct tape in such segments, even though the plot of the episode was that Possum Lodge had run out of duct tape.
  • The Channel 4 hidden camera series Bad Robots has an excuse plot at the beginning explaining that the malfunctioning electronics in the pranks were created by a robot who gained sentience to punish humans for mistreating their electrical appliances. No story progression after that.
  • Into the Badlands: The whole Post-Apocalyptic Feudal Future with No Guns Allowed is really just an excuse to have a Western Wuxia series.
  • Mystery Science Theater 3000 has a setup involving a guy getting sent into space and being used as a guinea pig in a space station with some robots where they watch bad movies in an effort to drive him insane that's really just an excuse to have a guy and two puppets riff on bad movies. Any Fridge Logic regarding the setup or the science behind the concept is actively discouraged.

    Pinball 
  • Atari's Hercules, which was an excuse to build a REALLY BIG pinball machine.
  • Pro Pinball: The Web has a motorcycle rider who has to stop a woman out to Take Over the World with an army of spiders. You do this by racing bikes, stopping a shuttle, raiding skyscrapers, and other odd tasks... don't ask, just go with it.
  • Averted with Doctor Who, which has a very detailed (relative to most pinball games) plot involving The Master and Davros teaming up to use a "Time Expander" to destroy all incarnations of The Doctor. Unfortunately, much of it was All There in the Manual, which made it very difficult for casual players to learn the game.
  • Teenage Mutant Ninja Turtles is rather egregious in this regard - it all boils down to "rescue April".
  • Flash is ostensibly about a Thunder God throwing lightning bolts, which is all an excuse to show off the table's (then-new) flash lamps.
    • Similarly, Firepower is about three spaceships attacking an alien warworld, which is an excuse for its multiball feature (the first solid state pinball game to feature one).
  • Crüe Ball never explains what the relationship is between playing pinball and playing loud Heavy Metal music.
  • In Necronomicon, studying a Tome of Eldritch Lore is done by... playing pinball?
  • Time Cruise has a backstory about a young inventor who is instructed by telepathic extraterrestrials on how to build a Time Machine. The game itself is a pinball game spread across several "buildings" (screens) with various minigames.
  • Similarly, Time Machine (Data East) uses time travel as an excuse for the game to use its old-fashioned electro-mechanical chimebox when the player reaches The '50s.
  • Flash Dragon doesn't even try to explain what dragons and photography have to do with each other.
  • Strange Science has a backstory about a Mad Scientist and his "Freaky Friday" Flip experiment, but the actual gameplay does little to build on the story.
  • Time Fantasy has... something to do with an anthropomorphic snail accumulating time while meditating in a psychedelic landscape of mushrooms and rainbows.
  • Embryon has the player incubate multicolored alien women from organic pods.
  • What does TX-Sector have to do with teleporters? Good luck figuring it out.
  • The entirety of Centaur's story is told to you in two words when you begin a game: "Destroy Centaur."

    Tabletop Games 
  • In Magic: The Gathering, most return-to-[world] sets are interested in creating an environment that feels right, even at the cost of retconning significant elements from earlier in the plot. Most notably, "Return to Ravnica" removed from continuity the dissolution of the Guilds because Ravnica was Guild World, and "Scars of Mirrodin" completely ignored the point that Mirrodin had been left uninhabited at the end of original Mirrodin block because all the inhabitants had gone back to their planes of origin.
  • There was a popular Planescape module called The Great Modron March where the event in the title begins decades before it is supposed to, and the PCs are supposed to help the modrons. They'll probably never learn just why the event is happening early, and there are a variety of hooks as to what motivation they have (like being hired as bodyguards by people interested in it) but Word of God admitted that the real reason the PCs are going to want to help the modrons is because it's just so cool. (And admittedly, it is.) Of course, the actual reason was somewhat serious, but it was part of a plot of a different module (which could be used as a sequel to this one if the PCs do find out. Primus, the ruler of the modrons, had been murdered, and his throne usurped by a "mysterious shadowy entity" who ordered the March early to search for something. The entity was actually Orcus in his guise as the undead demon Tenebrous, who was trying to find his Wand. Orcus' return became the main plot of the epic two-part module Dead Gods.
  • The plot of Battletech, feudal nobles in space fighting wars with Humongous Mecha, seems intended to create a situation to justify the use of mechs in warfare. But then the writers went into why they use mechs to conquer planets (instead of say, nukes), how they can conquer an entire planet with just a few mechs, and how the wars got started, plus the need to introduce new factions. And it all snowballed into a complete Expanded Universe.
  • The plot of Star Realms: You want a space empire, destroy the other player to do so.
  • The backstory for Gorkamorka mostly exists to facilitate the players' warbands driving around in the desert beating each other up.
  • Monsterpocalypse has a backstory and Character Alignment system that mostly exists to justify having giant robots slam Cthulhu through the Empire State Building while a Martian tripod steps on downtown Tokyo in order to more effectively fight a giant radioactive bug.

    Theatre 
  • Pretty much all Cirque du Soleil shows use this. There's generally a plot, if you read the website or the program, but mostly they're simple excuses to put together a bunch of acrobatic acts. This isn't necessarily a bad thing; they're really good acrobatic acts.

    Visual Novels 
  • The plot of Otome wa Boku ni Koishiteru is kickstarted by the death of the main character's grandfather and how the only way he will become chairman of the school is dressed in drag. Don't question how the criteria for chairman has a paradoxical clause that they must be alumni and the ethical questions that follow, all that matters is that you get a Harem disguised as Yuri.

    Radio 

    Web Animation 
  • Fan Film Quake the Movie: Escape from the Bastille opens with the history of the infamous Bastille of medieval Paris, revived in the distant future as a prison for alien POWs. Ultimately, however, this is not explored further and serves just as an excuse to show the warriors of Quake III: Arena fighting the Strogg from Quake II.

    Webcomics 

    Web Original 
  • The Akinator website includes the "Story of Akinator" which explains just why is a genie playing "Twenty Questions" with you—not that you need to read it.
  • Backloggery is a website dedicated to maintaining your video game backlog. It features a story about fighting a villain known as "Bak'Laag" who derives his power from unplayed video games (see the "instruction booklet" on the main page). It's utterly ignorable, apart from adding some silly flavorful messages throughout the website.
  • The Most Stupid Deaths In Super Mario 64, mostly. No explanation is given for why Mario is doing most of the things he does (except that, of course, he's getting paid $100 per death, at least in the first episode), but the story continues anyway.
  • Half in the Bag: Many episodes have some kind of plot, but they are almost always just excuses to have characters other than Mike and Jay discuss the movie in question. They usually end up getting resolved in the last minute or so in a way that leaves the status quo intact.

    Western Animation 
  • Looney Tunes never relied on anything more than very basic setups and conflicts for their stories, which went hand in hand with their fast paced slapstick comedy, which was the real meat of the cartoons entertainment. One of their directors, Chuck Jones, even explained why they did this in his biography "Chuck Amuck";
    "An idea has no worth at all without believable characters to implement it; a plot without characters is like a tennis court without players. Daffy Duck is to a Buck Rogers story what John McEnroe was to tennis. Personality. That is the key, the drum, the fife. Forget the plot. Can you remember, or care to remember, the plot of any great comedy? Chaplin? Woody Allen? The Marx Brothers?"
  • Tom and Jerry likewise rarely had anything resembling real stories, relying on wafer thin setups (i.e. Jerry is stealing a midnight snack, Jerry has Spike the Bulldog work as a bodyguard for him) and vignettes to accommodate the series fast paced slapstick and pantomime.
  • Betty Boop: Most cartoons have a very thin plot line, simply intended to showcase wild surreal gags and catchy sing and dance numbers.
  • This is how clip shows are justified on The Simpsons. For instance, Homer rents Paint Your Wagon one evening for the family, thinking it's going to be a classic Spaghetti western full of gunfights and cowboys (instead of a musical). Once the truth is uncovered, he grows irritated but Marge quickly points out that they actually quite enjoy singing and everyone's dialogue is turned melodic. The initial plot of disliking the movie is dropped and they simply start segueing into clips from previous episodes (with a home invasion subplot breaking in and out as needed).
  • Celebrity Deathmatch sometimes has these to serve as a background for fights that don't really make sense on their own, or place fights in bizarre settings.
    • "Time Travelling" has one about Johnny and Nick travelling through time to save Debbie from Napoleon, which is mostly there to justify Nick engaging in gladiatorial combat with a satyr, and Jack the Ripper trying to kill Sherlock Holmes.
    • "In The Head Of Nicky Jr." has a subplot about Nicky Jr. hearing voices in his head, which serves only to justify John Cusack and John Malkovich having a match inside a human brain.
    • All the fights of "Halloween Episode II" are organized via an Excuse Plot about the arena being attacked by zombies.
    • "37th Annual Sci-Fi Night" has a subplot involving an alien invasion, which is primarily to justify having Nick Diamond fight and kill said alien.
    • "A Celebrity Deathmatch Special Report" has a plot involving the mysterious destruction of the Deathmatch arena, which serves mainly to justify having Johnny and Nick fight Sam Donaldson, and Claire Danes against Whoopi Goldberg.
    • A 3-episode plotline involving Nick getting put in a coma after being flung from the commentator booth, serves mainly to justify a) having other commentators replacing him, and b) a fight between Elvis and Jerry Garcia in a morphine-induced hallucination, Dean Martin fight Jerry Lewis in a tape from the '50s (thus introducing the "Battles from the Vault"), and a background for the later Leonardo DiCaprio vs. Jack Nicholson fight.
    • "Celebrity Deathmatch The Motion Picture" has one involving the making of the titular movie, which primarily serves as a background for the Martin Scorsese vs. Oliver Stone and Cameron Diaz vs. Meryl Streep fights.
    • "Halloween Episode I" has one about Nicky Jr. being demonically possessed which serves mainly as a background for The Undertaker to fight a demon.
    • Other episodes, such as "Presented By Big Bull Beer", "The Missing Girl", "The Unknown Murderer", "Censoring Problems", "The Laser Pointer", "Robot Nicky", "The Prophecy", "Deathbowl 2000", "Turn on Your TV Day", "Suddenly Diamond", "Nick's Little Friend", and "Deathcon 2001", have plots designed for the purpose of setting up punchlines rather than whole fights.
    • Surprisingly averted in "Congressional Hearings", in which the only fight takes a backseat to the plot involving Ted Kennedy trying to get Deathmatch cancelled.
  • The G.I. Joe episode Once Upon A Joe blatantly lampshades its excuse plot of trying to keep the MacGuffin (explicitly named) from Cobra. The main draw is Shipwreck telling fairy tales starring Joes and Cobras to a young orphan, complete with a different, whimsical animation style.
  • The Ultimate Spider-Man episode "Ultimate Deadpool" is a full-on exercise of cramming in as much fourth wall-breaking zaniness by Deadpool as it can; like the Joe example, the MacGuffin is explicitly named as such.
  • The plot of Oh No Its An Alien Invasion is that the kids' parents have been abducted by aliens. No explanation is given as to why the aliens are only abducting adults.
  • Tangled ended with Rapunzel getting her hair cut and reverting to a brunette. Tangled: The Series undoes the ending by having Rapunzel stumble upon a strange magical stone that returns her hair back to her longer, golden form just to justify the series. And this time, the hair can't be cut through conventional means.


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